莫言:诺贝尔奖的台前幕后
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莫言，原名管谟业，生于山东高密县，中国当代著名文学家、剧作家。2011年凭借长篇小说《蛙》获第八届茅盾文学奖；2012年10月11日获得2012年诺贝尔文学奖，成为首位获此奖项的中国籍作家。1980年代中以乡土作品崛起，充满着“怀乡”以及“怨乡”的复杂情感，被归类为“寻根文学”作家。
BBC：Chinese Author Mo Yan Wins Nobel Prize for Literature
The 57?year?old is the first Chinese resident to win the prize.
“He has such a unique way of writing. If you read half a page of Mo Yan you immediately recognize it as him,” said Peter Englund, head of the Academy. He said Mo had been told of the award, adding,“He was at home with his dad. He said he was overjoyed and terrified.”
Born Guan Moye, the author writes under the pen name Mo Yan, which means “don’t speak” in Chinese.
Favoring to write about China’s past rather than contemporary issues, Mo sets his works in those time ranging from the 1911 revolution, Japan’s invasion to the Cultural Revolution. “He has a very impressive oeuvre（作品）,” Michel Hockx, Professor of Chinese at the University of London, said. “He has a large readership and he addresses the human condition in a way in which the Nobel Committee likes to see.”
莫言文学创作初衷：为了一日三顿，顿顿吃上饺子。
当时一位邻居告诉少年莫言，作家们生活是非常富裕的，每天三顿都吃饺子。多年后，莫言回忆起这件事感慨颇深：“我当时就想，原来作家生活是如此之幸福啊，所以当年想当作家的原因很简单，就是一天三顿都能吃到饺子。”
【莫言获奖作品】
《丰乳肥臀》是莫言的代表作。书中的母亲和瑞典人马洛亚牧师生下了上官金童，和其他人生下了其他姐妹，这些姐妹亲属是贯穿中国20世纪的权力高层和民间势力，通过描写家庭来反映中国政治气候的变迁，也表现了莫言对于女性的爱戴、同情和赞颂。
Big Breasts and Wide Hips: Set in a country with patriarchal favoritism and the primacy of sons（重男轻女）, this epic novel is first and foremost about women, with the female body serving as the book’s central metaphor. The protagonist（主角）, Mother, is born in 1900 and married at seventeen into the Shangguan family. She has nine children, only one of whom is a boy—the narrator（叙事者） of the book. As a spoiled and ineffectual child, he stands in stark contrast to his eight strong and forceful female siblings.
【幕后功臣——译者】
莫言获奖，使得将莫言作品带到瑞典的瑞典翻译家陈安娜（Anna Gustafsson Chen）也成为网友的关注焦点。此外，莫言作品的英语翻译葛浩文（Howard Goldblatt）也对其作品的世界影响力居功至伟。
A Back?stage Hero behind a Nobel Laureate
Swedish translator Anna Gustafsson Chen has translated three of Mo Yan’s works, including The Red Sorgum（《红高粱》）, The Garlic Songs（《天堂蒜薹之歌》）and Life and Death Are Wearing Me Out（《生死疲劳》） into Swedish.
And her personal favourite, Life and Death Are Wearing Me Out, is a tale of one man’s repeated reincarnation（重生）, during which the man always goes back into his family and home, but not always as a human being.
Anna Gustafsson Chen said, “There are many novels that write about a family, a generation or several generations of people, the story of a father and his children. But his writing is unique. In his novel, a character takes on life as a human, a donkey, a pig. It’s humorous and sometimes cruel. It’s so different. No one can write like that. So I like it very much.”
*陈安娜，女，1965年生，瑞典人，翻译家，上世纪80年代末90年代初开始翻译当代中国文学。莫言问鼎诺贝尔文学奖后，陈安娜在微博上发了太阳和蛋糕两个图标。这条以示祝贺的微博引起近五千条转发，许多中国网友在评论中致谢，称赞她是“中国文化的使者”，“译者功不可没，好的翻译是作品的重生。”
Howard Goldblatt: Faithful to the Original
“I love to read Chinese; I love to write in English. I love the challenge, the ambiguity, the uncertainty of the enterprise. I love the tension between creativity and fidelity（忠实）, even the inevitable compromises,” said Howard Goldblatt.
Howard Goldblatt was a Research Professor of Chinese and is a translator of numerous works of contemporary Chinese fiction. Goldblatt did translation work for Chinese writer and 2012 Nobel Prize in Literature winner Mo Yan. It is because of his successful translation of Big Breasts and Wide Hips: A Novel（《丰乳肥臀》） and The Republic of Wine: A Novel（《酒国》）that Mo Yan’s works are better known by English readers.
*葛浩文出生于1939年，20世纪60年代服役期间在台湾学习汉语，后获得美国印第安纳大学中国文学博士学位。目前是英文世界地位最高的中国文学翻译家。他的翻译严谨而讲究，让中国文学披上了当代英美文学的色彩。
【莫言：魔幻现实主义？——成也翻译，败也翻译】
诺贝尔委员会借助颁奖词对每年获奖者的文学贡献加以总结，在表述时颇费思量，因为颁奖词所包含的意思，基本上也就是他们认定的该作家获奖的主要理由。诺贝尔委员会给其的颁奖词为：
On October 11, 2012, the Swedish Academy announced that Mo Yan had received the Nobel Prize in Literature for his work “with hallucinatory realism merges folk tales, history and the contemporary”.
莫言获奖之后，很多中文媒体迅速地将颁奖词翻译成“他很好地将魔幻现实主义与民间故事、历史与当代结合在一起”。对此，诺贝尔文学奖五人评选委员会成员之一谢尔·埃斯普马克教授颇有微词，他说：“我觉得翻译错了。我们的颁奖词里没有提到过魔幻这个词。我们用的词是‘hallucinatory realism’（幻觉现实主义），而避免使用‘magic realism’（魔幻现实主义）这个词，莫言获奖最重要的一点就是他对现实的描写，他观察整个中国社会的传统和现代，这是他的特色和创新。”
显然不能简单套用源自南美文学的“魔幻现实主义”这个概念来概括莫言，这会让人很容易联想到马尔克斯或者福克纳，好像莫言只是在模仿别人，这会贬低他的价值。
（邹 璆 整理）